You know the scene in "The Fisher King" where Grand Central Station becomes a ballroom and strangers dance together at rush hour? It could almost have happened at the Barbican before tonight's benefit for Marian Zazeela, the partner of New York-based experimental composer La Monte Young, who is severely ill and facing rising hospital bills.

Despite the fact Pulp are appearing live for the first time in 15 months, we have been told this is not a Pulp gig so many times that the words almost make us dizzy. Seems like the million Jarv lookee-likees here know otherwise; there's so much nylon rubbing against the plush Barbican seats, you make a mental note not to touch anything metal for fear of electrocuting yourself.
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Finally, after more over-our-heads bits and bobs, Pulp troop across the expanse of stage watched over by the English Chamber Orchestra, who are again lending a helping hand. Dressed in a crap brown suit, shiny shirt and Seventies sunglasses, Jarvis looks very Vegas. And this is showtime. Performing three tracks from their new album, it would seem Pulp have been inspired by their James Bond-rejected tune, "Tomorrow Never Lies". "Seductive Barry" takes a ride on the John Barry train and sounds more rounded than your usual Pulp fare - smoother somehow, more relaxed. When the ECO strike up with a sweep Sooty would be proud of, you know Pulp mean business in 1998. "This Is Hardcore", possibly the album's title track, treads more familiar territory. Huge, it is. Enormous. A swirling, orchestral monster.

After a quick canter - sans orchestra - through "Help The Aged", Pulp are away, but not before Jarvis offers some useful advice: "Don't get caught by any skunks on the way home." Too late mate, we've already had our share of stinkers tonight. As for it not being a Pulp gig? My arse. They stole the show. But what did you expect?